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D’Amato, Gianni. "Renaissance des Bürgers." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2013/6344/.
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Giraud, Christophe. "Une renaissance inachevée ?" Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20012.
Testo completoAbstract (sommario):
Postulant l'inversion progressive des courants migratoires, cette thèse étudie la revitalisation des montagnes françaises. Le cadre retenu et le recensement font l'objet d'un examen initial. On analyse ensuite les soldes migratoires, avant de procéder au partage entre arrivées et départs. La deuxième partie aborde la notion de " migrant" et définit les "nouveaux habitants" par leur origine extérieure au territoire envisagé. Le profil des "arrivants" est affiné à l'intérieur de 39 cantons-témoins. Les motifs d'installation (emplois, cadre de vie) sont entrevus, de même que les dispositifs d'accueil. Les enjeux de la recomposition démographique clôturent le second volet. L'approche régionale détermine trois types d'espaces. Malgré la volonté d'ouverture, les hautes terres agricoles demeurent dans une situation critique. Des Vosges aux Alpes du Nord, les flux migratoires apparaissent largement dictés par les variations de l'emploi. Les montagnes méridionales permettent enfin d'examiner les phénomènes d'héliotropisme
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Godard, Anne. "La Renaissance dialogique : imitation et dialogisme dans les dialogues de la Renaissance." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0042.
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Lees-Jeffries, Hester Mary Monica. "Fountains in Renaissance literature." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619607.
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Pontiff, Brenda Renee'. "The American renaissance festival." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9947.
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Levergeois, Bertrand. "L'encyclopédisme de la Renaissance." Paris 10, 1997. http://www.theses.fr/1997PA100012.
Testo completoAbstract (sommario):
Apres avoir examine l'etat de la recherche sur l'encyclopedisme de la renaissance, il appa♭ rait que cette question a ete soit traitee partiellement, soit negligee, alors qu'en amont comme en aval de cette periode les etudes sont plus nombreuses. Dans un premier temps, l'objet encyclopedie est etudie via a) le terme "encyclopedie" et son apparition au xvie siecle (page de titre de ringelberg, naissance du neologisme, son adaptation en langue vulgaire) ; b) l'idee d'encyclopedie depuis l'antiquite (expose et cri♭ tique de la these d'h. -i. Marrou a propos de l'"enkukiios paideia") jusqu'a l'humanisme (positions de petrarque, politien et bude quant aux "studia humanitatis") en passant par le moyen age (approche de la "reductio artium ad theologiam") ; et c) le statut de l'encyclopedie dans le discours bibliographique (a partir de gesner). Il ressort de cette triple analyse, au-dela des conclusions d'alfredo serrai associant ency♭ clopedie et kabbale, que si le terme "encyclopedie" nait a la renaissance, cette lexicalisation ne s'accompagne ni d'une determination de l'idee qu'elle suggere, ni d'un catalogage typo♭ logique qui lui serait specifique. Dans un second temps, l'encyclopedisme de la renaissance est envisage pour ses formes, entendues a) comme les ordres donnes aux "mondes" (temps, espaces et univers), aux arts liberaux (classification et fonction pedagogique) et aux livres (de trithemius aux "indices librorum prohibitorum") ; b) comme les genres textuels adoptes, a travers l'idee de "restitutio" (souci d'unifier la diversite) et de "renovatio" (volonte de diversifierl'unite) ; et c) comme les philosophies engagees dans la mise en forme des savoirs et de leur pratique (synthese a partir de giordano bruno). En annexe est presentee la premiere traduction en francais du petit tresor de brunetto latini (texte original en regard), contribution a l'etude de la poesie encyclopedique.
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Barry, Marie Porterfield. "Lesson 08: The Renaissance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.
Testo completoAbstract (sommario):
This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.
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Hernandez, Lucia. "Nietzsche et la Renaissance." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2017.
Testo completoAbstract (sommario):
Ma recherche sera consacrée au regard que posait Nietzsche (1844-1900) sur, selon ses propres mots, cet « âge d’or », la Renaissance. Il s’agira de traiter de l’évaluation de la Renaissance par Nietzsche. Cette étude portera sur une analyse des auteurs de la Renaissance que Nietzsche a lu, comme par exemple Miguel de Cervantès (1547-1616) et parfois même apprécié tel que Michel de Montaigne (1533-1592) ou encore Nicolas Machiavel (1469- 1527). Elle m’amènera aussi à traiter de l’image de l’artiste et du génie de la Renaissance qu’il soit peintre comme par exemple Raphaël (1483-1520), sculpteur comme Michel-Ange (1475-1564), musicien ou écrivain. Cette lecture nous permettra d’une part d’aborder certaines figures de la Renaissance avec les yeux de Nietzsche, et elle nous donnera alors la possibilité de comprendre pourquoi Nietzsche considère l’époque de la Renaissance comme la « dernière grande époque », et d’autre part de comprendre l’influence sur de la Renaissance sur sa philosophie. Nous tenterons de comprendre pourquoi il pense que la culture de la Renaissance est une « culture noble » et cette époque, « l’âge d’or de ce millénaire ». Comment la Renaissance a-t-elle pu permettre l’épanouissement de grandes individualités et même favoriser l’émergence d’individus d’exception ? Et nous nous demanderons alors pourquoi nous n’avons pas récolté « la dernière grande moisson de culture qu’il était possible de récolter », pourquoi et comment la ruine de cette grande époque, la Renaissance, a-t-elle eu lieu ? Qu’arriva-t-il ? Et qu’est ce que cette époque peut encore nous enseigner ?<br>My investigations were dedicated to Nietzche (1844-1900) look on, according to his own words, this golden age named La Renaissance. I dealt with La Renaissance assessment according to Nietzche. This study focused on an analysis about La Renaissance authors that Nietzsche read, as for instance Miguel de Cervantès (1547-1616) and even sometimes appreciated.as Michel de Montaigne (1533-1592) or Nicolas Machiavel (1469-1527). It also drove me to deal with La Renaissance artist and genius image whether it’s a painter as Raphaël (1483-1520) for instance or a sculptor as Michelangelo (1475-1564), a musician or a writer. This reading allows us to to talk about some La Renaissance figures through Nietzche eyes and leads then to the possibility to understand why Nietzche considered La Renaissance as the « last important age » and on the other hand, to understand this influence La Renaissance had on his philosophy. I tried to understand why he thought that La Renaissance culture was a « noble » one and this period, « this millenium golden age ». How did La Renaissance lead to important personalities blooming and even contributed to exceptional people emergence And then, I wondered why we didn’t gather « the last culture wealth we were able to amass », why and how this age ruin, La Renaissance one, did take place ? What did happen ? And what does this period can still teach us ?
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Zorich, Jonathan P. "Alexander VI: Renaissance Pope." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5213.
Testo completoAbstract (sommario):
The life of Pope Alexander VI has been the object of controversy for centuries. He has often been portrayed in terms of moral extremes. Those historians who have been critical of his methods and motives have depicted the Borgia pope as evil incarnate. For them, Alexander VI was the ultimate symbol of papal corruption. Those historians sympathetic with the church have claimed that Alexander was a slandered and misunderstood figure. In reality, Alexander VI could most accurately be described as temporal prince so typical of the Renaissance. In many respects, he was no better or worse than any other pontiff of his age. Of all the so-called secular popes, Alexander VI has been singled out as a figure of exceptional immorality and corruptibility. Unlike some orthodox Roman catholic authors determined to completely whitewash the pontificate Alexander VI and the Renaissance papacy, my aim is to engage in an impartial critique of the existing evidence. We will see that Alexander VI was a typical pope of the Renaissance, obsessed with temporal concerns, sometimes at the expense of his duties as head of the Roman catholic Church. He was also a man completely devoted to the advancement of his family, making sure that every member of the House of Borgia was achieved the highest level of power and influence. In spite of the justified charges of nepotism, many historians have repeated many of the false tales regarding Alexander's personal character. These will be shown to based on little more than unsubstantiated rumor and innuendo.
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Chakravarti, Paromita. "Renaissance discourses of folly illustrated with examples from English Renaissance drama, especially Shakespeare." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421739.
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Manuel, Franck. "L'âne astrologue : les Pronostications joyeuses en Europe (1476-1623)." Toulouse 2, 2006. http://www.theses.fr/2006TOU20110.
Testo completoAbstract (sommario):
À partir de la fin du XVe siècle apparaissent dans toute l'Europe des parodies textes prophétiques, le plus souvent astrologiques, intitulés pronostications. Après une étude des textes sources et du contexte polémique dans lequel ils apparaissent, l'analyse porte sur l'ensemble des parodies, délimitant au sein d'une grande diversité des groupes cohérents : calendriers parodiques, énigmes en prophétie, pronostications joyeuses et pronostications satiriques. La recherche se concentre alors sur le groupe le plus représenté et le plus riche, les pronostications satiriques, pour comprendre les rapports entre satire et parodie qui les caractérisent, notamment la construction d'un éthos satirique original et la mise en place d'une poétique négative fondée sur le truisme et l'équivoque. Nous tentons enfin de décrire quelle fut l'évolution des textes tout au long du XVIe siècle à travers leurs liens avec le théâtre profane, isolant parmi les pronostications satiriques un groupe de textes engagés dans la polémique réformée sur fond de censure, autour des années 1530<br>Since the XVth century appear in Europe parodies of prophetic texts, most of them astrological, called pronostications. Having studied the texts which inspire these parodies and their polemical context, we analyse the whole parodies, delimitating within a great diversity coherent groups : mock calendars, prophetical enigmas, mock pronostications and satirical pronostications. The search then focuse on the most represented and the richest group, the satirical pronostications, to understand the relations between satire and parody, especially the construction of an original satirical ethos and the setting of a negative poetic founded on truism and ambiguity. We try at last to describe the evolution of the texts all along the XVIth century towards their links with profane theatre, isolating between the satirical pronostications a group of texts committed in the reform polemic and which struggles with censorship in the 1530's
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Hamlett, Lydia Kate. "The sacristy in Renaissance Venice." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/252030.
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Leino, Marika Annikki. "Italian Renaissance plaquettes in context." Thesis, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408126.
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Williams, Ella O. "The Harlem Renaissance: A handbook." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1987. http://digitalcommons.auctr.edu/dissertations/990.
Testo completoAbstract (sommario):
The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement.
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Lazarus, Micha David Swade. "Aristotle's Poetics in Renaissance England." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:fea8e0e3-df54-4b57-b45d-0b46acd06530.
Testo completoAbstract (sommario):
This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.
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Liu, Yang. "Renaissance of the Mogao Grotto." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83847.
Testo completoAbstract (sommario):
Dunhuang, an oasis city in the desert, preserved the flourishing, vanished and renaissance of the Silk Road in the past two thousand years. Due to the significant position located at the nodes of the routes on the Silk Road, Dunhuang has experienced a variety of cultural influences. Given its cruel desert climate where caravans were threatened by unpredictable dangers, Dunhuang became a religious center, especially for the development of Buddhism. Mogao Grotto is forever a shining pearl of Dunhuang. There are a total of 735 caves that have been identified and stretch the length of a 5578-feet cliff, which includes the 492 grottoes decorated with mural and statues in the southern section. It began being constructed around the 4th century and remained under construction for more than 1000 years.
Renaissance of the Mogao Grotto is an exhibition designed to use digital media and traditional drawing to re-create the ancient cave art in Northwest China. These virtual representations enhance the experience of real visitors of the cave, allowing them to discover the history of the caves. In particular, the 3D visualization environment of Cave 275, one of the oldest existing caves in Mogao Grotto, is a strong immersive experience for audiences to appreciate the delicate Buddhist cave art. At the same time, all traditional works, such as drawing, sketching, photos, audio, and video illustrate the understanding of Mogao cave art in modern aspects. Re-exhibits powerfully demonstrate the heritage of Asian culture in multi-approaches, which are a special opportunity for visitors to experience and witness the treasure of Chinese culture.<br>Master of Fine Arts
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Toda, K. "T.S. Eliot and Renaissance drama." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1463322/.
Testo completoAbstract (sommario):
The crucial importance of non-Shakespearian Renaissance dramatists to T.S. Eliot is evident in both his poetry and his prose. Eliot himself drew attention to this: he credited his own ‘poetic formation’ to the ‘minor Elizabethan dramatists’, and when reviewing his ‘critical output for the last thirty-odd years’ in 1951, he confessed himself ‘surprised to find how constantly I have returned to the drama, whether by examining the work of the contemporaries of Shakespeare, or by reflecting on the possibilities of the future.’ As C.S. Lewis disapprovingly wrote, Eliot’s ‘sympathy with depraved poets (Marlowe, Jonson, Webster) is apparent’. This thesis will trace Eliot’s engagement with these dramatists; it is a topic that has been comparatively neglected despite the central role it played in the evolution of his poetic and critical sensibility. The first section, which is largely biographical, explores Eliot’s background and education for clues to the development of his great interest in Renaissance drama, as well as detailing the ways in which he pursued this interest when he moved to England. The second comprises a detailed study of Eliot’s many essays on Renaissance dramatists. The last section examines his poetry, from the juvenilia to The Waste Land of 1922, when the outward signs of his ‘saturation’ were particularly prominent. In my conclusion I discuss how his engagement with Renaissance drama evolved in his post-1922 poetry and culminated in the composition of his own verse plays. The aim of this thesis is to explore the nature of the ‘profound kinship’ Eliot shared with Renaissance dramatists; their work appealed to him because it combines erudition with emotion, refinement with savagery, levity with the macabre and squalid. This appeal was so strong that it powerfully shaped both his poetic ideals and his vision of modernity.
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Sturm, Eduard. "Die Nietzsche-Renaissance in Italien /." Wien : VWGÖ, 1991. http://catalogue.bnf.fr/ark:/12148/cb356921628.
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Büscher, Mareile. "Künstlerverträge in der Florentiner Renaissance /." Frankfurt am Main : V. Klostermann, 2002. http://catalogue.bnf.fr/ark:/12148/cb399930253.
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Hahn, Nancy A. "Machiavelli's Prince: A renaissance pasquinade." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1264.
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Szekeres, Veronika <1957>. "Conduct Books in the Renaissance." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10495.
Testo completoAbstract (sommario):
The aim of my thesis is to identify Baldessar Castiglione's influence on the "conduct book" genre in the English Renaissance.In the first part of my dissertation I focus on the general definition and historical background of the Italian Renaissance. In this context I deal with Castiglione's literary work Il libro del cortegiano, its origin and the purpose of the author. Moreover I pay close attention and analyse Sir Thomas Hoby's English translation of Castiglione's volume, the strengths and weaknesses of the adaptation and the aim of the translator, Sir Thomas Hoby. In addition I draw conclusions from the throrough analysis of the translation. Furthermore in the second part of my thesis I will make a comprehensive study on the basis of Castiglione's The Book of the Courtier. I analyse four English authors's literary works, i.e. Roger Ascham The Schoolmaster, Sir Thomas Eliot The Book Named the Governor, Henry Peacham The Compleat Gentleman and Richard Brathwait The English Gentleman in search of differences and sameness with Castiglione's literary work. In the end of my dissertation I summarize the studies and argue in general the development of the conduct genre in England.
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Mayer, Dana Bentley-Cranch. "A comparative historical study of the pre-Renaissance and Renaissance portrait in France and England." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409295.
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Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.
Testo completoAbstract (sommario):
Art History<br>Ph.D.;<br>My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli's Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael's Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.<br>Temple University--Theses
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Rohrmüller, Marc. "Architektur- und Ingenieurzeichnungen der deutschen Renaissance." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-24415.
Testo completoAbstract (sommario):
Am 1. April 2009 fiel der Startschuss für das von der Deutschen Forschungsgemeinschaft für 18 Monate geförderte Projekt „Architektur- und Ingenieurzeichnungen der deutschen Renaissance. Digitalisierung und wissenschaftliche Erschließung des Zeichnungsbestandes von 1500 – 1650“. Beantragt wurde es von der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) in Kooperation mit dem Kunsthistorischen Institut der Universität zu Köln und dem Max-Planck-Institut für Wissenschaftsgeschichte in Berlin.
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Wells, Donald Douglas Barbour Reid. "Political platonism in the English Renaissance." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1164.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English." Discipline: English; Department/School: English.
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Davidson, Mark. "New build gentrification : London's riverside renaissance." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/new-build-gentrification--londons-riverside-renaissance(870714ae-656d-4ddf-9185-6f92891f4224).html.
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Turner, Lewis. "Gender renaissance : re-configurations of femininity." Thesis, Lancaster University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418436.
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Salkeld, Duncan. "Madness in Shakespearean and Renaissance drama." Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293065.
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Schwarz, A. B. Christa. "Gay voices of the Harlem Renaissance." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297966.
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Chowdhury, Sajed Ali. "Dissident metaphysics in Renaissance women's poetry." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45264/.
Testo completoAbstract (sommario):
This thesis considers the idea of the 'metaphysical' in sixteenth- and seventeenthcentury women's poetry, notably by exploring the female-voiced lyrics affiliated with Marie Maitland (d. 1596) in the Scottish manuscript verse miscellany, the Maitland Quarto (c. 1586). The study aims to reintegrate important strands of Renaissance culture which have been lost by too exclusive a focus on English, male writing and contexts. For many literary historians the 'metaphysical' refers overwhelmingly to Dryden's pejorative categorization of Donne and his followers. However, Sarah Hutton has recently shown how the 'metaphysical' can be traced to an Aristotelian Neoplatonism, whereby influential fifteenth-century thinkers such as Marsilio Ficino were conflating the spiritual and material for political purposes. For the queer Renaissance critic, Michael Morgan Holmes, the 'political' pertains to individual spiritual-material desires which can undermine hegemonic definitions of the natural and unnatural. Building on this, my thesis illuminates 'metaphysics' in the work of Maitland, Aemilia Lanyer (1569-1645), Constance Aston Fowler (1621?-1664) and Katherine Philips (1632- 1664). These poets use the physical and spiritual bonds between women to explore the nature of female space, time and identity. Hutton's and Holmes's definition of the 'metaphysical' has special applicability for these poets, as they tacitly deconstruct the patriarchal construction of the virgin/whore and offer their own configuration of the spiritual-sensual woman. While critics have foregrounded a male metaphysical tradition in the early modern period, this study proposes that there is a 'dissident' female metaphysical strand that challenges the 'dominant' male discourses of the time. Over the last few decades, feminist scholars, notably, Lorna Hutson, Barbara Lewalski, Kate Chedgzoy, Carol Barash and Valerie Traub have reinstated the work of Lanyer and Philips in the English canon of Renaissance writing. More recently Sarah Dunnigan has drawn attention to the importance of the Scots poet and compiler, Maitland. Moreover, Helen Hackett has indicated that the writings of Fowler force us to rethink the roles of women in early modern literary culture. I take this further in two ways. First, I examine these poets' relationship to the 'metaphysical', the importance of which has been underestimated by critics, despite Dryden's original gendered use of the term. Secondly, I propose that these writers are responding to a 'polyglottal' female metaphysical tradition that develops in Renaissance Europe through a female republic of letters. I also assess the difficulties in belonging to a 'female tradition' in an era where female authorship was necessarily affected by misogynistic attitudes to women as writers. The research re-contextualizes the work of these women by examining the philosophical ideologies of Aristotle, Ficino, Marguerite of Navarre, Donne, Sir Richard Maitland, Mary Stewart, Queen of Scots, Elizabeth Melville, Olympia Morata, Herbert Aston, Katherine Thimelby, St Teresa of Ávila and Andrew Marvell. By juxtaposing these four poets and reading them from within this philosophical-political context, the thesis sheds new light on the nature of early modern female intertextuality, whilst challenging male Anglocentric definitions of the 'Renaissance'.
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
Testo completoAbstract (sommario):
This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Withers, Wendy B. "Cupid's Victimization of the Renaissance Male." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1679.
Testo completoAbstract (sommario):
Following the path of the use of the Petrarchan sonnet in Renaissance England, this article explores why this specific form was so prevalent from the court of Henry VIII to that of his daughter, Elizabeth I. The article pays specific attention to the works of Sir Philip Sidney, Shakespeare, Richard Barnfield, and Lady Mary Sidney Wroth, paying close attention to social, political, and gender issues of the period.
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Gazzaz, Lama. "Renaissance of Saudi Women leaders' achievement." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14736.
Testo completoAbstract (sommario):
This research investigated cultural and social factors that influenced or allowed Saudi women to become leaders. It also examined those values that are synchronous with cultural and social factors that improved their access to leadership opportunities. An understanding of the factors and values that enabled these Saudi women to succeed leads to better knowledge of formation of leadership character. The context in which these Saudi women achieved their successful goal of becoming leaders, provides insight into their development as leaders and contribute to leadership studies in a traditional and religious context. The empirical data, gathered through in depth structured interviews using multiple rounds of interviews, was interpreted to produce a framework focused on the achievement of leadership and the cultural and social factors that enable or inhibit women leadership. The research revealed culturally based constructs related to gender. Whilst men are given responsibility and favoured for responsible positions, women are not inferior to men. Significantly, the women regarded themselves as no different from men in terms of bearing responsibility, being independent and achieving success. It confirmed the expectation depicted in the conceptual framework that women’s attributes or values are critical and significant in their successful journey to leadership. Sixteen such values and attributes emerged from the data. Significant among them were empathy with employees, ability to adapt, strength of character, expert knowledge and solidarity among women. By understanding the values that help women to achieve, sustain and evolve their leadership skills, which social and cultural dynamics enable or inhibit them in becoming leaders, and which organisational factors are critical for their success, this research has contributed better knowledge of Saudi women leadership achievement. Knowledge about women leadership in the Saudi context is thus advanced. This reveals that there is a role of the family and especially the father’s role, individual’s aspirations and action, the personal and professional struggle that Saudi women leaders experience, and the interpersonal relationships that they establish with their male counterparts to succeed. The research contributed understanding and knowledge of those values held by successful women leaders that are both unique and shared with successful leaders around the world. It revealed the social and cultural factors and dynamics, in the opinion of the participants that inhibit or enhance their ability to gain leadership roles and to work as effective leaders. The research revealed the organisational factors or dynamics affect women leaders.
34
Cohen, Judith. "Reading Petrarch: The Renaissance Composer's View." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37089.
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Heller, Karl. "Gedanken zur Vivaldi-Renaissance der Gegenwart." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38320.
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36
Pereira, Carlos Henriques. "Naissance et renaissance de l'équitation portugaise." Paris 3, 2002. http://www.theses.fr/2002PA030122.
Testo completoAbstract (sommario):
Notre travail est divisé en quatre parties. La première partie est consacrée au premier traité d'équitation portugaise : " O livro da ensinança de bem cavalgar toda sela " de Dom Duarte (1435). Dom Duarte est le premier écrivain équestre post-antique à avoir analyser la préparation mentale du cavalier. La peur est le premier élément que le cavalier doit vaincre pour atteindre les hautes sphères de l'art équestre. Il a réalisé aussi la première codification de la tauromachie équestre. Son livre constitue un document précieux pour l'histoire de l'équitation médiévale européenne. La deuxième partie étudie l'équitation " gyneta ", vraisemblablement d'origine arabe et adaptée à la Culture ibérique lors de la conquête musulmane, atteint son apogée au 17ème siècle comme en témoigne le traité de Galvam de Andrade. La tauromachie constitue un autre volet de l'étude dans la mesure où l'équitation " gyneta " en est l'essence. Enfin, la troisième partie s'intéresse à l'équitation baroque à la mode en Europe au siècle des Lumières. C'est en effet au 18ème siècle que l'équitation classique atteint son plus haut raffinement. L'équitation se rationalise et le cheval ibérique devient l'archétype du cheval de manège. La notion de race équine se précise grâce à l'avancée de la zoologie, des sciences vétérinaires mais aussi pour des raisons économiques ; le cheval devenant un enjeu financier non négligeable. On assiste à une formalisation de tous les airs d'école : cabriole, piafferLa quatrième partie intègre un lexique des termes équestres du 15ème au 17ème siècle accompagné d'une brève note sur l'évolution du langage équestre portugais. Nous concluons par une brève réflexion sur l'avenir de l'équitation portugaise à l'aube du XXIème siècle, période qui marquera probablement sa Renaissance. Notre travail de recherche doctorale s'appuie sur l'analyse des œuvres suivantes: " O livro da ensinança de bem cavalgar toda sela " de Dom Duarte (1435) ; " Arte de Cavalaria de Gineta, Estardiota, Bom Primor de Ferrar, e Alveitaria Dividida em Três Tratados, " de Galvam de Andrade (1678); " Luz da Liberal e Nobre Arte de Cavallaria " de Manoel Carlos de Andrade (1790)<br>The present thesis is fourfold. Its first part is dedicated to the first treaty of Portuguese horsemanship : "Livro da Ensinança de bem cavalgar toda sela" by Dom Duarte (1435). Dom Duarte was the first equestrian writer after antiquity to analyse the mental preparation of the horseman. In order to reach to the high spheres of equestrian art, the rider must first overcome his fright. He also invented the first code of equestrian bull-fighting. His book is a precious testimony for the history of medieval equitation in Europe. The second part addresses the "gyneta" type of equitation, probably of Arabian origin and introduced into the Iberian peninsula during the Muslim conquest. It reached its apex in the 17th century as is testified in Galvam de Andrade's treaty. Bullfighting is another part of the study as "gyneta" equitation is at its core. The third part deals with baroque equitation which was in fashion in Europe's Century of Enlightenment As a matter of fact, classical equitation reached its highest degree of refinement in the 18th century. Equitation became codified and the Iberian horse became the archetype ot the manège horse. The concept of equine breeds became more defined thanks to the advance of zoology, veterinary science and also for economic reasons as the horse represented a significant financial value. All the airs above the ground _ piaff, cabriole, etc. . . _became codified. The fourth part comprises a lexicon of equestrian terminology from the 15th to the 17th century as well as a brief presentation of the evolution of Portuguese equestrian terminology. The conclusion is a brief comment on the future of Portuguese equitation at the beginning of a 21st century which will probably mark its Renaissance. The present Ph D is based on the following books : " Livro da Ensinança de Bem Cavalgar Toda a Sela" by Dom Duarte, " Arte de Cavalaria de Gineta, Estardiota, Bom Primor de Ferrar, e Alveitaria Dividida em Três Tratados,", " Luz da Liberal e Nobre Arte de Cavallaria " by Galvam de Andrade,. . . . By Manoel de Andrade
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Deletage, Valérie. "Phnom Penh : renaissance d'une capitale sacrifiée." Bordeaux 3, 2006. http://www.theses.fr/2006BOR30012.
Testo completoAbstract (sommario):
Au début des années 1970, le Cambodge est secoué par des troubles politiques internes mais aussi régionaux qui vont laisser place, en avril 1975, au régime khmer rouge. Ce nouveau gouvernement d'obédience communiste extrémiste impose, sans transition ni délai, une révolution agrarienne à tout un peuple. Cas unique dans l'histoire mondiale, en quelques jours Phnom Penh et les autres villes du pays sont totalement vidées de leur population. La population déportée dans les campagnes est réduite en esclavage sous la surveillance constante de " l'Angkar ", pouvoir indéfini, xénophobe et omnipotent. Durant ces trois années et huit mois, un des plus importants génocides de ce XXe siècle est perpétré dans le plus grand silence et l'indifférence ; environ 25% de la population cambodgienne va disparaître. Les populations urbaines paient un lourd tribut. Au lendemain de ces années sanglantes, Phnom Penh recouvre officiellement ses fonctions de capitale. Cette renaissance tient aussi dans le retour d'une population qui lui confère son identité. Or, les personnes qui viennent s'installer dans la ville sont traumatisées et relativement étrangères aux modes de vie urbains. Dans les années 1990, Phnom Penh connaît une croissance spatiale, démographique et économique qui peut être liée à l'ouverture sur le monde capitaliste et l'arrivée d'investissements étrangers, acteurs principaux de l'essor économique. Ce développement se traduit par un étalement de la tâche urbaine sur le territoire provincial selon des axes radiaux, et par une suburbanisation. Mais la population et la ville restent parallèlement profondément marquées par l'histoire récente<br>At the beginning of the 1970's, Cambodia was stunned by internal regional political and social disturbances which have lead to the Khmer rouge government's rule in April 1975. The extremist communist system enforces an agrarian revolution without transition and delay. As unique case in the world's history, Phnom Penh and others Cambodian cities were evacuated within three days: the urban population was deported in the countryside and enslaved in work camps under the control of Angkar, a blurred xenophobic and omnipotent regime. During three years and eight months, one of the most important genocide in the 20th century was perpetrated in the greatest secrecy and indifference: 25% of the Cambodian population was exterminated. Urban populations paid an important tribute. After those bloody years, Phnom Penh officially recovered its capital functions in 1979. This revival has lead to the return of a traumatized population which has spent years away from urban life and has conferred specific identity to the city. Since the 1990's, Phnom Penh has undergone a rapid economic, spatial and demographic growth. The opening of the economy to the capitalistic world and the resulting flowing in of foreign investments are the main factors behind the economic and spatial expansion. Urban growth leads to a radial spreading of the city in provincial areas through a process of suburbanization. Nevertheless, the heritage of recent political history is still strongly perceptible on the social and spatial organization oh Phnom Penh
38
Little, William Lee. "Renaissance Commentaries on the Epistula Sapphus." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563391908235177.
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Stumpf-Condry, Claudia. "The renaissance of Antinous (1500-1550)." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269970.
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McDonnell, Sharon Frances Irene. "Male poisoners in renaissance revenge tragedies." Thesis, Sheffield Hallam University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706122.
Testo completoAbstract (sommario):
Poisonings are the staple of revenge tragedies of the late Elizabethan and Jacobean periods, and contrary to a common perception that poison is a female weapon, male characters are often portrayed as the main perpetrators. I argue in this thesis that the plays discussed show a distinct type of male poisoner who employs poison as a weapon in a way that effeminises and emasculates them. I shall explore the character traits of this distinct male poisoner in six revenge tragedies: Hamlet, The Tragedy of Hoffman, The Revenger’s Tragedy, The Tragedy of Claudius Tiberius Nero, The Second Maiden’s Tragedy, and Albovine, King Of The Lombards. I will attempt to demonstrate that there are two categories of male poisoner: one is the heterosexual male who poisons others because of ambition, lust, or revenge (for example, the Duke in The Revenger’s Tragedy or Claudius in Hamlet), the other is the distinct male poisoner who acts in ways more associated with females than with males; and it is these characters that I focus on in this thesis. These distinct male poisoners are not just represented as effeminate, but are shown forming close homoerotic relationships with other males through their language and actions; in effect, these male poisoners take on the subordinate role of the female within these relationships. My contribution to knowledge is to bring attention to this distinct type of male poisoner and demonstrate that, while not all male poisoners are presented as identical to each other, all these insidious characters have deficient manhoods that are empowered by poison.
41
Bickmann, Isa. "Odilon Redon und die italienische Renaissance." [Heidelberg] : Universität Heidelberg / Universitätsbibliothek, 2007. http://nbn-resolving.de/urn:nbn:de:bsz:16-artdok-2729.
Testo completo
42
Reeds, Karen. "Botany in medieval and Renaissance universities." New York : Garland, 1991. http://books.google.com/books?id=quLaAAAAMAAJ.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Harvard University, 1975.<br>"Annex: 'Renaissance humanism and botany, ' Annals of science 33 (1976), 519-542 [and] 'Publishing scholarly books in the sixteenth century, ' Scholarly publishing, April 1983, 259-274." Includes bibliographical references (p. 261-283) and index.
43
Lange, Marjory. "An anatomy of English Renaissance tears." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186565.
Testo completoAbstract (sommario):
This dissertation traces shifts in the way tears were perceived during the English Renaissance, from roughly 1509 to 1660. Examining medical treatises, sermons, and lyric poetry, I demonstrate that tears and weeping underwent a paradigm shift both as literary symbols and phenomena. Although this revaluation is inconsistent between the different discourses, by the end of the Renaissance, patterns in place a century earlier had been significantly challenged, even redefined, as the most popular model in each genre gradually yielded to new insights. Chapter One examines medical treatises, primarily on melancholy. The Renaissance inherited the paradigm of humours theory to explain human psycho/ physiology. During the seventeenth century, dissection began to replace humours with an empirical model based on the existence of glandular paths for tears. Chapter Two investigates the effect upon lyric poetry of this loss of vital, currently grounded metaphors derived from humoural models. Sixteenth-century poetic miscellanies are replete with tears wept unabashedly by poetic speakers to honor their unrequited love, tears shed in a type of serious, often melancholic play. By the end of the seventeenth century, although humour-based metaphors are still present, increasingly they are devoid of fundamental content. This drought embodies alterations in medical paradigm, as well as the homiletic tradition's long-standing distrust of affect. Chapter Three explores sermons, where, unless they were shed in repentance for sin, tears signified human sinful weakness. All "natural" grief was suspect. In addition, preachers struggled with the vestiges of the medieval 'gift of tears.' Theologically unpopular, this conception was sufficiently prevalent to require frequent rebuttal from the pulpit. Sermons on the verse, "Jesus wept" preached between 1509 and 1700 demonstrate an hermeneutical transmutation: from an early characterization as the superior, almost condescending, but compassionate king, Jesus has by 1700 become the divine architect, weeping only because his exalted design for humanity will be rejected. In Chapter Four, the works of three seventeenth-century devotional poets, John Donne, George Herbert, and Richard Crashaw, are shown to incorporate the most dominant effects of the overall change that tears underwent. In their poetry, metaphoric depletion is offset by gains in imaginative liberty. Donne wrestles with the dilemma of placing tears between himself and God; Herbert offers tears to God--with a problematic humility--because he is human; and Crashaw celebrates the sheer human wonder of tears. The vitality of poetic tear imagery culminates in their work.
44
Slakey, Mark. "Calvin's hermeneutics in the American Renaissance." Thesis, Bangor University, 2001. https://research.bangor.ac.uk/portal/en/theses/calvins-hermeneutics-in-the-american-renaissance(08fc0c82-19b4-4b77-bd93-5a13be8b1c33).html.
Testo completoAbstract (sommario):
This thesis traces the development of Calvinist hermeneutic practices and their implications for social order as they relate to the writings of Ralph Waldo Emerson and Nathaniel Hawthorne. The tension in Calvinist reform between its liberating, individualistic piety and its strict, pure social order carried over into hermeneutic practice, resulting in three distinct hermeneutic traditions: the dogmatism upheld by the ecclesiastical and political elite; the subjective dogmatism of "inspired" radicals; and an open hermeneutics which emphasized receptivity to new meaning but recognized the importance of community and community of meaning and aspired to a progressive harmony of ideas. Through Puritan covenant theology, Calvinist dogmatism was transformed into American nationalism, a mode of thought with protean powers of co-opting dissent. Calvinist subjective dogmatism influenced American radicalism through Puritan antinomians. While Calvin's open hermeneutics had some influence on the Puritans, it was especially important in the writing of Emerson and Hawthorne, who were especially influenced by its development in the work of seventeenth-century English divines and of Samuel Taylor Coleridge. This development, paralleled in American thinkers such as Edwards, divorced dogmatic, traditional "Calvinism" from the Calvin who inspired personal experience and symbolic knowledge. In response to the authoritarian dogmatism of American nationalism, both Emerson and Hawthorne turned to the Calvinist tradition of openness to new meaning. For Emerson, this meant a continual quest for authenticity and the consequent rejection of comforting structures and habitual modes of thought. Such hermeneutics led Emerson toward relativism and pragmatism. Hawthorne too recognized in the dominant ideology a threat to the integrity of the individual, as evidenced in his early "rites of passage" stories. In The Scarlet Letter, Hawthorne suggested the need for community as a support of meaning and a foundation for the individual in a process of long-term change.
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Maxson, Brian Jeffrey. "The Humanist World of Renaissance Florence." Digital Commons @ East Tennessee State University, 2014. http://amzn.com/1107043913.
Testo completoAbstract (sommario):
This book offers a major contribution for understanding the spread and appeal of the humanist movement in Renaissance Florence. Investigating the connections between the individuals who were part of the humanist movement, Brian Jeffrey Maxson reconstructs the networks that bound them together. Overturning the problematic categorization of humanists as either professional or amateurs, a distinction based on economics and the production of original works in Latin, he offers a new way of understanding how the humanist movement could incorporate so many who were illiterate in Latin, but who nonetheless were responsible for an important intellectual and cultural paradigm shift. The book demonstrates the massive appeal of the humanist movement across socio-economic and political groups and argues that the movement became so successful and so widespread because by the 1420s¬-30s the demands of common rituals began requiring humanist speeches. Over time, deep humanist learning became more valuable in the marketplace of social capital, which raised the status of the most learned humanists and helped disseminate humanist ideas beyond Florence.<br>https://dc.etsu.edu/etsu_books/1042/thumbnail.jpg
46
Hughes, Sarah Elizabeth. "An interdisciplinary unit on the Renaissance." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1277.
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47
Berriet, Thomas. "Poétiques du blâme à la Renaissance." Paris 7, 2014. http://www.theses.fr/2014PA070112.
Testo completoAbstract (sommario):
Cette thèse trouve son origine dans une hésitation de la poésie de la Renaissance entre deux postures critiques : d'un côté celle qu'implique le jeu satirique hérité d'Horace, de l'autre celle qui relève du blâme issu de la poésie archaïque ou de la tradition rhétorique. Son objectif est de mettre en lumière, au-delà des désaccords de surface, ce que révèle cette hésitation, afin de mieux comprendre la signification du projet épidictique des poètes de la Renaissance. La perspective de ce travail n'est donc pas générique ou formelle, mais s'inscrit dans une poétique anthropologique. Son originalité consiste à aborder la poésie épidictique par le biais non de l'éloge mais de son envers, le blâme. La première section examine, à partir des textes et des pratiques de l'Antiquité, l'histoire rhétorique, philologique, philosophique et poétique du blâme. A l'aide d'outils issus de l'anthropologie maussienne ou de la sociologie historique, elle en reformule les enjeux et articule la notion de parrêsia et celle de parénèse. La seconde section se concentre sur la Renaissance. À partir d'Érasme, Budé ou Castiglione, elle examine les enjeux politiques et symboliques associés à la parole poétique pour maintenir la cohésion du corps « ontologique » du public. Elle souligne aussi, à travers l'étude lexicographique, la défiance des humanistes vis-à-vis de la discorde, de la calomnie et de la médisance. Ce paradoxe fondateur explique les exigences élevées associées à un éthos du blâme qui permet, malgré le prix de la franchise, de s'adresser au prince à travers un pacte épidictique souvent idéalisé. Trois poètes sont étudiés à travers ce filtre : Marot, Ronsard et Du Bellay<br>This PhD thesis originates in Renaissance poetry's wavering between two critical stances : on the one hand the stance involved by the satirical game inherited from Horace, and on the other hand the stance which resorts to the blame coming from archaic poetry or rhetorical tradition. It aims at shedding light on the core meaning of such wavering beyond superficial disagreements, so as to gain a better understanding of the Renaissance poets' epideictic project. As a result, this work has no generic or formai perspective, but pertains to an anthropological poetic. Its originality can be found in its specific approach of epideictic poetics, by way of blame instead of praise. Based on Antiquity texts and practices, the first section investigates the rhetorical, philological, philosophical and poetic dimensions of blame's history. Borrowing analytical tools from Maussian anthropology and historical sociology, it raises its stakes again while connecting both notions of parrhesia and parenesis. The second section focuses on the Renaissance period. Relying on Erasme, Budé or Castiglione, it scrutinizes the political and symbolical issues regarding poetical language, considered as an attempt to maintain the coherence of the public's « ontological » body. Through a lexicographic survey it also highlights the humanists' disapproval of discord, calumny and defamation. An account of the high standards regulating the ethos of blame can then be given : despite the cost of frankness, they paradoxically allow to address the Prince within an epideictic pact which is often idealized. Three poets are being studied using this lens : Marot, Ronsard, and Du Bellay. Mediations and textual appropriations underlying the invention of these sung genres
48
Forwood, Matthew. "Poetry and the Rise of the Renaissance Artist: An investigation into the interdisciplinary nature of the Renaissance." Thesis, Department of History, 2011. http://hdl.handle.net/2123/7979.
Testo completoAbstract (sommario):
This thesis investigates the role poetry played in the rise of the Renaissance artist. It argues that the poetic technique ekphrasis influenced the theoretical writings of Leon Battista Alberti (1404-1472) and became the basis for Giorgio Vasari’s praise of Michelangelo as ‘divine’ (1550). It shows how poetry became a source of inspiration, in subject matter and in technique, of Sandro Botticelli’s illustrations of the Divine Comedy (1480-1500). It investigates how Alberti and Leonardo da Vinci argued that painting should be considered a dignified profession in wider society and how their arguments were confounded by the failed Accademia di San Luca (1590) because of the lack of artists who saw themselves as intellectuals.
49
Trébosc, Delphine. "Confronter l'art : les collections de raretés de la Renaissance française." Paris 1, 2004. http://www.theses.fr/2004PA010573.
Testo completoAbstract (sommario):
L'étude aborde les cabinets de raretés de la Renaissance française en tant que lieux d'exposition artistique et créations produisant un effet visuel intentionnel. Elle ambitionne de comprendre pourquoi et comment on exposait des oeuvres d'art dans des collections éclectiques et s'attache à déterminer les conditions et les modalités de la rencontre et du mélange des oeuvres et objets d'art modernes et antiques, des artefacts exotiques, des spécimens naturels et des instruments en leur sein. Ce travail comprend une analyse de leurs contenus, formes d'agrégation et déterminations socioculturelles et structurelles. Il examine ensuite la dimension formelle du cabinet de raretés, lieu où s'exprime une poétique de la variété, et isole, chez certains d'entre eux, une fonctionnalité cognitive spécifique aux arts plastiques, puis explore la piste d'un mode éclectique du savoir sur l'art ainsi que son rôle dans le processus d'autonomisation de l'art et du jugement esthétique.
50
Araujo, Fatima Ribeiro. ""Voyages du goût" : les échanges, les transformations et les synthèses d'aliments entre l'Europe, l'Afrique et l'Amérique du XVème au XVIIème siècles." Paris 7, 1992. http://www.theses.fr/1992PA070060.
Testo completoAbstract (sommario):
Il s'agit d'une etude sociologie, historique et anthropologique sur les premiers echanges, transformations et syntheses d'aliments entre les peuples de l'europe, l'afrique et l'amerique (specifiquement le bresil) pendant les grands voyages du quinzieme au dix-huitieme siecles. Nous essayons aussi de connaitre l'alimentation europeenne du quinzieme au dix-septieme siecles et celles des offices des caravelles qui vouageaient vers l'outre mer. Nous observonc egalement les aliments connus et inconnus des europeens, qui etaient retrouves sur la route maritime; les premiers contacts entre les hommes des navires et ceux des terres, en fonction de l'echange de leurs aliments et de leurs acclimatations. Nous avons etudie l'alimentation amerindienne, africa etportugaise au bresil de ces deux siecles par rapport aux changements des relations de travail, du metissage biologie et culturelle realise entre ces trois peuples. Finalement nous avons remarquer cet etude sur le metissage des aliments et les syntheses alimentaires elaborees surtout par les africains pendant la periode d'esclavagen en presentant comme soutien spirituel le rituel religieux<br>The study concerns the sociology, history and anthropology of the firat exchanges, transfers and combinations of nourishement between the paoples of europe, africa america (particularly brazil), during the great voyages in the fifteenth, sixteenth and seventeenth centuries. We also thy to know the european nourishment of the fifteenth century and the pantry of the caravelles used fon ocean voyages. We also observe the food, known and unknown, found along the maritime routes, the first contacts between the men of the ships and the populations on land regarding the exchanges of food and its adaption. Finally, we have studied the amerindien, africain and portuguase nourishement in brasil during the sixteenth and seventeenthe centuries as a fincution of working relations, culturel and biological racial mixture between these three populations, and combination of food worked out by the africains in particuler during the slavery period, through their religious rituel